This comedy of manners, about a young aristocrat who believes her husband has fallen under the spell of an older woman, was Oscar Wilde's first theatrical success. It now seems a rather stilted piece of work. But as Wilde confronts the rigid moral codes of Victorian England — and especially its stifling attitudes to marriage — the play’s failure to spring any interesting surprises is redeemed by some stingingly good lines.

Linnie Reedman’s revival moves the action from the 1890s to the Thirties, apparently in order to make the play’s references to “modern life” and its affectations seem more resonant. Songs by the likes of Cole Porter and Ivor Novello intersperse the scenes — the high-society wit Cecil Graham (Nathan Lubbock-Smith) tinkles the ivories — and while the costumes don’t reliably evoke the Thirties we get a clear impression of a world suffused with gossip, mischief, jealousy and snobbery.

Ellie Nunn plays the refined and guileless Lady Windermere. She’s the daughter of Sir Trevor Nunn and Imogen Stubbs, which won’t harm her career prospects, but in any case she is a bright, spontaneous actor who appealingly captures her character’s innocence while also suggesting her potential to be both indiscreet and unhappy.

Though this is not a polished production, it proves gently entertaining, thanks to some vigorous performances (notably Graham Hoadly as a romantic bore) and a twinkly sense of fun.